Auckland Philharmonia Orchestra

Summer 2016 Vol.36 No.1 Your free copy BEING BELLINCAMPI APO’S NEW MUSIC DIRECTOR STEPS A CURRENT AFFAIR UP TO THE PODIUM Nixon and a new tradition of opera INFERNAL MUSIC Degeneracy in the Third Reich THE IRRESISTIBLE BARD Shakespeare’s mark on music LARRY WILLIAMS | LEIGHTON SMITH | RACHEL SMALLEY | MIKE HOSKING | KERRE MCIVOR | TONY VEITCH | JACK TAME | DANNY WATSON

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2 apo.co.nzAuckland 89.4FM, Gisborne 945AM, Hamilton 97.0FM, Rotorua 747AM, Taupo 96FM, Tauranga 90.2FM, Tokoroa 1413AM, Wellington 89.3FM, Whangarei 1026AM & Mid North 1215AM & Far North 1026AM

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FRONT DESK Upfront with Barbara Glaser 3 APO News 4

FEATURES

Auckland Philharmonia Orchestra PO Box 56024 Dominion Road The Quest for Perfection 8 Making the Civic Shake 13 Auckland 1446 Phone (09) 638 6266 New Music Director Giordano Bellincampi’s The Auckland Dance Project returns Fax (09) 623 5629 vision for the APO Ticket Office (09) 623 1052 Email [email protected] Website apo.co.nz Facebook facebook.com/aporchestra Twitter @aporchestra Instagram aporchestra Phil News Summer 2016 Editor Tiana Lyes Cover Giordano Bellincampi, The CNN Opera 11 The Ire of the Beholder 14 photographed by Benjamin Ealovega Nixon in China and operatic tradition Music condemned by the Third Reich Creative LARRY WILLIAMS | LEIGHTON SMITH | RACHEL SMALLEY | MIKE HOSKING | KERRE MCIVOR | TONY VEITCH | JACK TAME | DANNY WATSON Design Composer at Work 17 Lounge Music 23 Paper Sponsor Meet our new Composer-in-Residence The orchestra live in your living room Phil News printed on Tauro Offset 100gsm; All the World’s a Stage 18 Me & My 25 cover 300gsm Shakespeare’s stamp on our season Tuba – Tak Chun Lai Patrons A Tale of Two Violinists 20 Offstage 26 Dame Kiri Te Kanawa, ONZ, DBE Dame Catherine Tizard, ONZ APO’s new additions share a Evgeny Lanchtchikov opens Sir James Wallace, KNZM common history up his workshop Dame Rosanne Meo, DNZM My Great Listen 21 Vice Patron Conductor and music educator Dame Jenny Gibbs, DNZM Richard Gill Auckland Philharmonia Orchestra Board Geraint A. Martin (Chairman) CODA Penelope Peebles (Deputy Chair) Leigh Auton Crescendo News 29 Richard Ebbett Friends News 31 Neil Haines Kieran Raftery Foundation News 31 Eric Renick Concert Calendar 33 Julian Smith newstalkzb.co.nz

Auckland 89.4FM, Gisborne 945AM, Hamilton 97.0FM, Rotorua 747AM, Taupo 96FM, Tauranga 90.2FM, Tokoroa 1413AM, Wellington 89.3FM, apo.co.nz 1 Whangarei 1026AM & Mid North 1215AM & Far North 1026AM

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Rousing APO programme

Vladimir Ashkenazy’s star turn

Virtuoso Ning Feng centre-stage

New Kario Margetic composition

“An energy core for Auckland’s musical activities.”

All that matters. nzherald.co.nz From the Chief Executive Image: Adrian Malloch Adrian Image: UPFRONT WITH BARBARA GLASER

What makes Auckland one of the world’s most Director Giordano Bellincampi to his new liveable cities? It consistently ranks in the top home. I know that Giordano is very much results in international surveys, and it’s not looking forward to coming back to Auckland, hard to see why; a 20 minute drive in almost and to celebrate he’s pulling out all the stops any direction can take you from the lush green in his first season with us; tackling Strauss’s rural countryside to the buzzing metropolitan heroic showpiece Ein Heldenleben in his centre, or back across to the stunning array of first concert and taking Auckland audiences beaches. But one of the biggest drivers for a on the scenic route to Europe in our Bayleys city to thrive is surely a creative heart, and to Great Classics opener ‘A Grand Tour’ both in that end it makes sense for Auckland’s leading April, all leading up to his APO operatic debut arts organisations to be right there in that heart. with Otello in July. Read all about his vision It’s taken us a long time, but we can finally for his time as Music Director in our cover say that we are the proud new tenants of the story on page 8. In this interview, Giordano’s magnificent Auckland Town Hall, right in the passion almost jumps off the page, but if you heart of the city. The Town Hall has always been want to hear more from our Maestro, I highly the orchestra’s spiritual home, and it’s wonderful recommend joining our Crescendo membership to finally be able to say we really are home. programme, where members will have the Home is a theme that runs throughout our exclusive opportunity to engage with Giordano 2016 season, with some of New Zealand’s and attend rehearsals throughout the year. More exceptional homegrown talent joining the APO information about Crescendo is on page 29. on stage. Opera star Simon O’Neill joins us for We also have a superb line-up of guest our Auckland Arts Festival performance of Nixon artists joining us throughout the season; my in China (together with Kiwi soprano Madeleine personal highlights in the first half of 2016 Pierard) as well as taking on the title role in our have to be our season opener on 18 February, Opera in Concert performance of Verdi’s Otello where we welcome back conductor Christopher in July. We’re also thrilled to have the fabulous Seaman to take on Mahler’s enormous Fifth Topp Twins join us in May for a fun-filled evening Symphony, and Australian cellist Li-Wei of music and entertainment, and our fifth annual Qin, who will play Walton’s Cello Concerto. Auckland Dance Project Ruaumoko showcases Another returning favourite, Mexican conductor some of the finest artistic talent from Atamira Carlos Miguel Prieto will bring the Town Hall Dance Company, composer Gareth Farr and alive with Latin Rhythms in June, featuring soundscape artist Paddy Free, together with classical guitarist Slava Grigoryan and some the full APO and more than 100 students of the most toe-tapping compositions in the from across the city; more information about orchestral repertoire. Ruaumoko is on page 13. And because the We are thrilled to be embarking on this next polite thing to do when you move into a new stage of our journey, musically with Giordano, neighbourhood is say hello to the neighbours, and as part of the central heartbeat of Auckland we’re taking our APO musicians into your with our new home in the city. With so many neighbourhood once again for a three-concert exciting concerts scheduled this season, we series in churches throughout Auckland. The hope you’ll join us at the Town Hall, the home series kicks off with Beethoven’s Septet in of the APO – I’ll be sure to put the kettle on! Takapuna and Pakuranga in May, and an Italian Baroque programme in June, where we visit Howick and Remuera. So, now that we’ve moved in and unpacked, all that is left is to welcome our New Music

apo.co.nz 3 APO NEWS Image: Adrian Malloch Adrian Image:

APO MAKES TOWN HALL ‘HOME’ The APO has proudly put out the artistically active city centre.” Great Hall. The move cements APO’s welcome mat at the Auckland Town Auckland Mayor Len Brown says position as Auckland’s professional full Hall, after signing a lease to move the move is beneficial to the city. “The time orchestra which makes a major the organisation into the newly Auckland Philharmonia Orchestra’s contribution to the vibrancy of our vacated office space. After months of exciting move into its very fitting new great city, Ms Glaser says. “We truly negotiations with Auckland Council, home at the Town Hall is something are in the heart of the city now, close the APO shifted premises on 9 Auckland should celebrate,” Len to our audience and our supporters. February, and now occupies Level 1 of Brown says. “Having the orchestra and It’s heartening to see the Council the Town Hall, with the ticketing office administration team finally together and Regional Facilities Auckland accessible on the lower ground level. in one place is an exciting first step acknowledge our role and place in this The move to the Town Hall is the towards a permanent home in the city, and we’re pleased to be a part of first major step towards a long-term Aotea Quarter which is set to become the Council’s vision for a vibrant arts plan to move into a new, permanent, this city’s arts and culture heart.” and cultural scene in Aotea Quarter.” purpose-built facility in Aotea Quarter. Regional Facilities Auckland (RFA) A dedication ceremony on “This has been a shared long term Chief Executive Chris Brooks agrees. 2 February by Te Waka Angamua, vision between APO, Auckland Council “RFA has had a long and valuable Auckland Council's Maori Relations and Auckland Live and the move of association with the APO and this representatives, officially welcomed our administration team into the Town move will mean that we are physically the APO to its new home. Hall is a huge first step that will open much closer and able to work together APO concertgoers will now be up a lot of opportunities for the APO,” more effectively. Aotea Quarter is one able to book and collect tickets from says Barbara Glaser, Chief Executive of the major creative hubs of Auckland the new ticketing office located on the of the APO. “It is the start of a long- and we look forward to welcoming the lower ground floor of the Town Hall, term partnership that will revitalise the APO here.” accessible from the Aotea Square side Aotea precinct and city centre, and The Town Hall already serves as the of the building. Office phone numbers further enable the APO to contribute performing home of the orchestra, and including the number for the ticketing to the Auckland Plan through an most rehearsals also take place in the office remain the same (09 623 1052).

4 apo.co.nz department, with donations from The Sir John Logan Campbell Residuary Estate, NZ Community Trust, 13 donors at the 2015 Deloitte Summer Salon, Peter PAINTING Levin, and one anonymous donor. The new Kromat trombones aren’t MUSICAL traditionally German, Doug says, but rather a “happy medium” between COLOURS American and German trombones. Aspiring composers will have “They’re as easy to play as American the opportunity to compose trombones and have the same slide music inspired by New dimensions, but they still have that Zealand artists, in a unique very German sound. I’ve spoken to collaboration between APO the makers and they describe them and Auckland Art Gallery. as warm and dark, with clarity in the The APO is now calling for quiet dynamics.” applications from adults and Prior to purchasing the trombones, tertiary students to participate much research was undertaken to in Composer Workshops, a SHINY NEW ARRIVALS ensure the instruments were the right two-year project offered by APO is pleased to welcome its newest sound for the APO. Numerous skype the orchestra’s education orchestra members; a quintet of and phone calls, and testing of the programme, APO Connecting. five handsome German trombones. same instruments at West Australian Applicants will submit Created by renowned brass instrument Symphony Orchestra meant that Doug concepts to write original manufacturer Kromat, the bass, alto, could be sure he was choosing the pieces for full symphony two tenor and contrabass trombones right instruments. orchestra, inspired by New will particularly complement Classical The trombones were made to to Romantic repertoire. order by Hans Kromat, who has also Zealand artworks from the APO Principal Trombone Doug made instruments for the prestigious Gallery’s collection. Cross says he’s thrilled with the APO’s Berlin Philharmonic, amongst other In 2016, APO Composer- purchase. “They really are wonderfully orchestras, and the APO’s set is an in-Residence Karlo Margetić crafted instruments,” he says. “While almost identical set to those used by will assist the aspiring we expect to be using the German the Leipzig Gewandhaus Orchestra. composers and provide trombones for about 30-40% of the Doug says the trombones will be an mentoring through intensive Classical to Romantic repertoire, asset to the orchestra. “These trombones workshop sessions. Next personally I see us using them more are of excellent enough quality to outlast year, the final works will be than that – I’m very happy with the way my career, that’s for sure!” presented in a public concert they play.” performance with the APO. Doug says that sound-wise, they Karlo says he is looking work especially well with composers forward to getting involved in like Beethoven, Schumann, Schubert, the project. “I have a tendency Wagner, Bruckner and Brahms, who to draw ideas from visual wanted to achieve clarity, warmth stimuli myself, and because and blended sound. “The German I get to closely follow the trombones are designed to match creation of new works and and blend with the trumpet section’s hopefully learn a few things rotary trumpets,” he explains. Prior to myself. I’m quite interested to purchasing the set, the APO either see what people will come up hired German trombones from another with,” Karlo says. orchestra if they were available, or used For more information American trombones, which Doug or to submit an application says are “less authentic-sounding” for visit apo.co.nz or German repertoire. contact APO Connecting Valued at approximately $60,000 in APO trombonists Doug Cross, Mark Close [email protected] total, the funds for the trombones were and Tim Sutton unwrap the delivery of the APO’s new German trombones. raised through APO’s Development

apo.co.nz 5

BUS SERVICE FOR OREWA Hibiscus Coast locals will now be able to take the bus to the Town Hall door for APO concerts, with an Orewa/ Whangaparaoa bus set to be added to the APO Friends bus service in 2016. Audrey Hay, from Orewa, approached the APO Friends to suggest a bus service for Whangaparaoa concertgoers, which will initially be offered for the New Zealand Herald Premier Series concerts. She says this will help combat the increased cost and scarcity of parking around the Town Hall, and give people living further north the option to take a “no stress” way to get to concerts. The proposed plan is for the bus to leave at 7pm from the Orewa Surf Club (where there is plenty of parking) and make one stop at the Park and Ride at Silverdale. It will return to the same stops immediately following the concert. Audrey is asking for expressions of interest in using the bus in order to firm up the proposed route and the cost, which she expects will be between $10 and $15 depending on the number of regular users. To contact Audrey, phone 09 426 8360 or email [email protected] NEW VENUE FOR RITZY EVENT The bus service will complement the APO Friends existing buses to APO’s annual black tie fundraising of $130,000, which she says is concerts, which are $10 return. The soiree has a new venue for 2016: ambitious but possible, given last APO Friends bus itineraries are: Shed 10 at Queens Wharf. The year’s record-breaking fundraising Deloitte Summer Salon returns on result of $128,000. South: Papakura – Manurewa – 8 March and is ‘Puttin’ on the Ritz’ To assist with this target, Papatoetoe at this historic heritage building, APO has already secured several Convener Helen Higgott: formerly a cargo shed and located covetable auction items for the (09) 298 1213 next door to The Cloud. event, including a guitar signed by This year the event theme is David Bowie, a rugby ball signed a celebration of jazz, featuring East: Howick – Pakuranga – Sunhill – by the winning All Blacks World entertainment from APO musicians, Panmure – Meadowbank – Remuera Cup squad, a trip to the Singapore a jazz trio and singer Tim Conveners John and Jessica Pybus: Grand Prix, and a guided trip to Beveridge. Former news presenter (09) 534 7415 and now Radio New Zealand’s White Island. Tickets for the Deloitte Summer Head of Content Carol Hirschfeld North: Devonport – Hauraki Corner – Salon ‘Puttin’ on the Ritz’ black tie will MC the black tie dinner, and Takapuna – Milford – Northbridge funds raised from auction items dinner are $260 each or $2,500 Convener Anne Norris: (09) 446 1228 will support APO Connecting’s for a table of 10, and available education, community and from apo.co.nz. For further outreach activities. APO’s Director information, or if you wish to West: Glendene – Pinesong – of Development Laura Dee has donate an auction item, contact Crestwood – Glenburn announced a fundraising target [email protected] Convener Liane Hume: (09) 817 0476

apo.co.nz 7 THE QUEST FOR PERFECTION

THE BATON HAS BEEN PASSED ON TO GIORDANO BELLINCAMPI. AMBER READ TALKS TO APO’S NEW MUSIC DIRECTOR AHEAD OF HIS ARRIVAL NEXT MONTH. “The challenges of an international career 2016 Composer-in-Residence. At a basic level, All images: Benjamin Ealovega Benjamin images: All are musically and psychologically immense,” Giordano’s approach to preparing all these says Giordano Bellincampi, the APO’s newly scores is the same: “I always try to study the appointed Music Director, “as are the rewards score as carefully as possible and to study as when the music simply happens and I can much about the background of a piece and a stand on the podium and be part of the composer as I possibly can.” He continues as incredible energy.” an aside, “we never finish this task; it is a great Constant travel is one of these challenges, privilege.” He is quick to acknowledge though Giordano admits, “but the APO is worth that being able to consult a living composer every single minute of the tremendously over questions regarding the score is a major long flight!” He’s also quick to find other boon, wishing for “just 10 minutes with Maestro upsides. “Long flights and lonely nights in Haydn to ask him about thousands of details.” hotel rooms far away are ideal settings to get Those concertgoers who had the opportunity things done,” he says, referring to the many to hear Giordano’s concerts with the APO in practical and administrative tasks that a music 2015 may have noticed that he conducts without director is expected to undertake in addition a baton. When asked about this, Giordano firstly to conducting. points out that that conducting without a baton is When conducting as a guest, Giordano says, not without precedent; today there are a number “We ‘play on the instrument’ as it is for very few of prominent conductors who conduct mostly or days; we try to get the best possible out of an entirely without a baton (such as Valery Gergiev orchestra and the given programme and have and Antonio Pappano). With regards to himself, a ‘strategy’ for short-term achievements”. An he says, “For me it is a very simple reason: I am MD’s role, by contrast, encompasses long-term quite tall and my arms are quite long. Generally strategy as well. “Sound, style, skills, versatility, a conductor tries to stay with arms, hands, flexibility, improving self-confidence of players and baton within a limited frame together with and ensemble, et cetera,” lists off Giordano. Not the face in order to make it possible for the to mention the MD is involved in planning the musicians to be focused on everything at the season’s repertoire, audition committees, and same time while they also read their music. the artistic direction of the orchestra, requiring I found after some years of conducting with collaboration with orchestra management on baton that leaving it out made it easier for me the one side and orchestra members on the to stay within this ‘frame’ with my too long arms other. “So there are definitely parts of the job and often too big movements, and I also found that are more managerial,” he says. “But the key that especially the sound of the strings section thing is the work on the podium, it all relates to improved with the more ‘hand in the dough’ that anyway.” feeling, like with a chorus.” Before embarking on a career as a A huge part of any conductor’s role is conductor, Giordano was a trombonist and of course the rehearsals. “I personally love his experience on the other side of the podium rehearsals almost as much as concerts,” equips him with a valuable perspective on Giordano says. “[They are] a wonderful the practicalities of rehearsal. “I think I have opportunity together with the musicians to a good understanding of how boring it can explore the music and to let new ideas and be for musicians that don’t play all the time if creativity evolve.” rehearsals are ineffective,” he says. Giordano’s “I love constructive mistakes,” he continues. interest in conducting started young though, “They are all part of a collective process listening to military bands at the Villa Borghese developing towards the concert with the and the presidential palace in Rome. “My audience, and then this again is only one more grandparents have told me I would stand in step on the wonderful road that continues the front of the band and conduct,” he reminisces. next time we play that score and the next day we By the age of 10 he was listening to orchestral rehearse something new. So generally I try to records and following along in the score. At bring as much love to the music and creativity to first, conducting was a side job, but eventually, every moment we are on the podium. Naturally at age 30, he left trombone playing to pursue we can’t succeed in this every time, there are full-time conducting. also grey Monday mornings after stress with Giordano’s 2016 concerts with the APO bringing kids to school and traffic jams in an promise a diverse selection of repertoire. “The orchestra musician’s life, but generally Brahms APO is a very versatile orchestra,” he says, and the other masters are really good in letting “and as MD it is important to for me to be us forget about the trivialities of life and focus part of as much of the repertoire as possible.” on the music itself. This is what I try to bring to His 2016 repertoire with APO ranges from the rehearsals, and with the great musicians in the so-called ‘core’ repertoire like Haydn, the APO this is simply a privilege.” Beethoven and Brahms, to music by living Giordano has a strong vision for his time as New Zealand composers like Dame Gillian Music Director with the APO: “First of all I look Whitehead and Karlo Margetić, the APO’s forward to getting to know the APO better, but

apo.co.nz 9 generally I simply try to The New Zealand work with all orchestras Herald Premier Series in the same way, trying to explore potentials in the music and amongst the WELCOME, musician’s skills, trying to help the musicians as MAESTRO! individuals and as a group 8pm, Thur 21 April to develop and to improve Auckland Town Hall on the things that are not the strongest sides. It Conductor Giordano seems obvious but I think Bellincampi a conductor should never be afraid of confronting Ligeti Atmosphères and trying to solve Mozart Symphony No.40 challenges as long as it Strauss Ein Heldenleben is in a constructive way BOOKINGS and I can help find solutions and develop an ticketmaster.co.nz orchestra. The APO has a very high standard, or 0800 111 999 and we are ready to give the audiences great experiences, but every orchestra and every musician can always improve and loves the challenges and the quest for more perfection. That is the soul of the true musician.”

         

 The MODERN HISTORY HAS BIRTHED A NEW TRADITION OF OPERA, SIMON HOLDEN EXPLAINS.

Soprano Hye Jung Lee will reprise the role of Madame Mao for the Auckland Arts Festival performance

of Nixon in China, pictured here for the San Francisco Opera production. Cory Weaver Image:

As with all classical music, opera experienced lasting influence of Nixon. Initially described a turbulent 20th century. With traditional tonal witheringly by some as “CNN opera”, it birthed harmony coming under attack, so too did the a vibrant tradition of opera. The next major traditional ideas of opera, and by the post-war example was also by Adams. The Death of period many saw opera as a dying art. It was Klinghoffer, a reflection on the Israel-Palestine clear that a new direction was needed where conflict through the terrorist hijacking of a traditional, historical narrative was no longer ship and the murder of a Jewish passenger the focus and composers have approached – a journey into the moral grey that retains NIXON IN CHINA this dilemma in varying ways. Historical figures relevance in any era of conflict. Also in a interact with fictional characters in Corigliano's political vein was Harvey Milk by composer Presented by Auckland The Ghosts of Versailles, Michael Nyman set Stewart Wallace, focusing on the life and death Arts Festival in a neurological case study in The Man Who of the eponymous activist in which Milk was association with Mistook His Wife For a Hat and in Einstein positioned as the "mythic and emotional centre" Auckland Philharmonia on the Beach, Philip Glass dispensed with of the gay rights movement. Law-studying Orchestra and plot completely. Myth has also been a popular composer Derrick Wang's Scalia/Ginsburg was New Zealand Opera starting point – Birtwistle's The Mask of inspired by the operatic quality he found in the Orpheus examined the same Orpheus myth vigorous dissents of Supreme Court Justice 7:30pm, Thur 17 March multiple times within one work, and spasms of Antonin Scalia. Very different from the weighty 7:30pm, Sat 19 March deranged violence permeate Rihm's Oedipus. political focus of these works is Mark Anthony Auckland Town Hall  In Nixon in China, composer John Adams Turnage's big-hearted examination of tabloid Conductor  also takes the idea of mythology as his celebrity, Anna Nicole. Even Prince Harry has Joseph Mechavich inspiration, declaring that the myths of our time to been the star of a recent libretto, in Hannah Director Sara Brodie  be "not Cupid and Psyche, but Mao and Nixon". Lash’s Stoned Prince. Madame Mao In doing so, he spearheaded a new operatic Opera based on recent events can be  Hye Jung Lee tradition that treats recent events as effectively a generator of publicity and has often been Patricia Nixon as other composers had dealt with those from dismissed as attention-seeking. Apart from the Madeleine Pierard  the distant past. Nixon in China was near value of attracting new audiences, however, Mao Zedong unprecedented in its use of characters still living what is really striking is how far beyond the idea  Simon O’Neill and its focus on a specific event so inherent in of "CNN opera" the most successful examples  Richard Nixon  the collective consciousness of the American actually go. They give the audience a much Barry Ryan public of the time. The attraction of the Nixon more layered understanding of these events  Zhou En Lai storyline to Adams was its potential to examine and characters than that provided by news Chen-Ye Yuan  how myths are made and indeed he and librettist journalism, bringing emotions and motivations Alice Goodman gave an almost mythic dimension to life through musical means. It is the Nixon Chorus New Zealand to President Nixon's interactions in China. characters’ personal but rather mythic reflections Opera Chorus Premiere director Peter Sellars had a history of on their failures that stay in one’s memory, not updating older works to contemporary times, but the documentary details of the plot. Like we now why update when one could speak instead ‘in see the historical Boris Godunov partly through our own language in terms of words and music?’ Mussorgsky’s eyes, perhaps when the journalistic One doesn’t need to go back into the mists of record has faded, might we not see Nixon or time to find themes of love, death and conflict. Anna Nicole partly through Adams’ or Turnage’s Goodman's libretto contains a gripping struggle eyes? Either way, the trend of operas inspired BOOKINGS Nixon in China between the political and personal fully equal to by has provided one solution for ticketmaster.co.nz Simon Boccanegra Don Carlos that of or . the woes of new opera, a way for composers to or 0800 111 999  Notwithstanding its rocky entrance into the express the complexity of our society, to create standard repertory, there is no overstating the myths for our time.

apo.co.nz 11 HERE, THERE AND EVERYWHERE IN NEW ZEALAND.

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11041446_AUCKLAND_PHILHARMONIA_ORCHESTRA_A4_v1.indd 1 4/11/14 5:24 PM WHAT IS THE AUCKLAND DANCE PROJECT? Image: Adrian Malloch Adrian Image: • An annual collaboration MAKING THE CIVIC between the APO, professional dancers and around 120 Auckland school students aged 5 to 18, which culminates in a fully staged public performance. • Launched in 2011. Each year involves a different SHAKE body of work. • Has attracted accolades for artistic excellence and positivity. • Aims to empower students, foster social development and demystify classical music. • Leading Māori contemporary dance group Atamira Dance Company choreographs the performance and mentors the students. PREPARATIONS ARE UNDERWAY FOR • Inspired by a dance project between the Berlin THE MUSIC: Gareth Farr’s work (written RUAUMOKO, THE 2016 AUCKLAND Philharmonic and Berlin in 1997) traverses the four seasons school students called DANCE PROJECT, IN COLLABORATION of Aotearoa punctuated with blasts of Rhythm Is It! WITH ATAMIRA DANCE COMPANY. percussion – the ruaumoko or earthquakes. HERE, THERE AND EVERYWHERE ANN WARNOCK MEETS WITH SOME OF THE STORY: a modern Māori fairytale THE CREATIVE FORCES INVOLVED. set amongst the mythical forces of a sacred mountain. RUAUMOKO IN NEW ZEALAND. THE PRODUCTION: directed and The 2016 Auckland Composer Gareth Farr: “The process has choreographed by Moss Patterson with Dance Project been a collaboration between Moss, Paddy and sound design by Paddy Free, it features six Experience the thrilling City of Sails, calming views of Lake Taupo or the myself to expand and reinvent my orchestral Atamira dancers, professional kapa haka Presented in piece Ruaumoko from a 27 to a 45-minute performers and students. association with magnificent beauty of Queenstown with Hilton hotels and resorts. piece. It’s almost 20 years old now and this Auckland Arts Festival reinvention process is fascinating for me - we’re 5pm, Sat 12 March breathing new life into it and the new musical The Civic Discover different sides of New Zealand and have exhilarating adventures material Paddy has created changes the piece James Cook High School students on your next getaway. so much. It’s a multi-layered show. I’m hoping 16-year-old Briana Moala Bourke Hafa BOOKINGS we connect with everyone who experiences it.” and 17-year-old Ryan Roberts danced in ticketmaster.co.nz last year’s project Te Manu Ahi and are or 0800 111 999 Artistic director and choreographer Moss now rehearsing for Ruaumoko. Patterson: “You can change people’s lives through dance. We are taking students out of Briana: “It gave me heaps of experience – how For more information, please visit hilton.co.nz their own orbits and bottlenecking them into a production comes together in a theatre as well a professional arts environment of maximum as working with a live orchestra which was really challenge which will push them beyond what different from anything I’ve done before. It was they know of the world and themselves. A very hard especially after the first day where I dance project is just a vehicle – this is about ached a lot but I was committed to the project so empowering young minds and creating art. I had to overcome this. I learnt lots of new skills Ruaumoko is a new narrative for a classic score like teamwork and why it’s important to turn up – it speaks of Aotearoa and who we are.” to rehearsals.” Soundscape artist Paddy Free: “It’s going Ryan: “It has definitely changed my perception to be a sensory feast. Ruaumoko is about on contemporary dance and orchestra music. the god of earthquakes so I’ll be providing all Never before would I have imagined that the sorts of sub-bass rumbles and atmospheres two would go so well together. The orchestra using synthesizers, dub mixing techniques and was very different to just another soundtrack manipulated sound effects. We’ve brought in over the speakers – you could really hear all the more electronic parts and textures to extend individual instruments. Te Manu Ahi helped me the score but basically I’ll be trying to find the to gain a lot of confidence in dance and other frequencies that will make the Civic shake!” life aspects as well.”

©Hilton Worldwide 2014 apo.co.nz 13

11041446_AUCKLAND_PHILHARMONIA_ORCHESTRA_A4_v1.indd 1 4/11/14 5:24 PM The word “degenerate” (German “entartete”) is intrinsically racist in tone and purpose, implying a genetic decline or deviation from ancestral quality. Citing theories on racial purity supported THE IRE by 19th century pseudoscience the Nazis applied the term to anyone with Jewish, Roma, African or other non-Aryan ancestry. Regardless of their former social standing, their Aryan blood was deemed to be contaminated by that of their OF THE genetically inferior forebears. The label was further applied to anyone, regardless of race, who deviated from normality as proclaimed by Nazi ideology – homosexuals, those with mental or physical disabilities, and other minority groups such as Jehovah’s Witnesses. Artistic or musical deviation from conventional practice was also regarded as evidence of degeneracy. In 1937 the Nazis presented in BEHOLDER Munich an exhibition of contemporary visual art called “Degenerate Art” (Entartete Kunst) which displayed examples of every modernist trend disapproved by the political leaders. Symbolism, Post-Impressionism, Expressionism, THIS YEAR’S NEWSTALK ZB SERIES Cubism, Dada, Surrealism – virtually every HIGHLIGHTS SOME OF THE MUSIC THAT significant movement in contemporary art of the time was condemned. Hitler’s ideal in the WAS SILENCED BY REGIMES. ROBERT visual arts was classical Greek and Roman JOHNSON EXPLORES THE ROCKY art, which he regarded as being untainted by Jewish influences. HISTORY OF SOME OF TODAY’S MOST 1938 brought a similar exhibition in BELOVED COMPOSERS. Düsseldorf, this time devoted to music. Varying styles of music from jazz to the avant-garde were all targeted. Hitler’s musical appreciation, broader than his taste in the visual arts, was nevertheless strongly rooted in the Austro- Germanic line – Mozart, Beethoven, Wagner, Bruckner. Operetta was also favoured, particularly those by Lehàr. It’s worth noting that Wagner arguably did more than any other 19th-century composer to bring chromatic harmony to the point of no return, thus preparing the way for the atonal music of Schoenberg, Berg and Webern. Conceivably it was the Teutonic mythological subject matter of The Ring of the Nibelungs that seduced Hitler into acceptance of this essentially progressive music; or perhaps Wagner’s rabid anti-Semitism enabled the Führer to overlook the inherent modernism of the music itself. If Wagner’s racial Image: Picture Alliance/dpa Picture Image: purity had been even slightly in question, or had he shown tolerance towards Jews, Hitler’s attitudes may well have been different. He was not so fond of Brahms, who had regarded anti- Semitism with open contempt. Gustav Mahler, whose ten-year term as director of the Vienna Court Opera had been constantly undermined by anti-Semitism, was one of the most prominent names on the list of proscribed Jewish composers under the Nazi regime. Reaching back to the first half of the 19th century, the Nazis expanded on Wagner’s denunciation of Mendelssohn in his infamous essay Jewishness in Music. Even the Visitors to the Degenerate Music Exhibition, 1938. much-loved score for A Midsummer Night’s

14 apo.co.nz Dream was placed on the “banned” list, and various Aryan composers were approached to write new incidental music to replace it. The commission was eventually accepted by Carl Orff, whose Carmina Burana had found favour in 1937 as representing the acceptable face of German modernism. Austrian composer Alexander Zemlinsky, admired by both Mahler and Schoenberg, was forced by the rise of the Nazis to flee from Berlin to Vienna in 1933, then from Vienna to the USA in 1938. He died in obscurity four years later, and it would be some 40 years before his music was rediscovered and championed by conductors such as Gerd Albrecht and Riccardo Chailly. Another important Austrian composer of Jewish descent, Franz Schreker, first came to prominence with his opera Der ferne Klang (The Distant Sound) in 1912. With the operas Die Gezeichneten (The Branded) and Die Schatzgräber (The Treasure Hunter), first produced in 1918 and 1920 respectively, Schreker came to be regarded as second only to Richard Strauss as a composer of opera in the German language. Though he succeeded Busoni as director of the Musikhochschule in Berlin, increasing anti-Semitism forced him to resign from his official posts when the Nazis came to power in 1933, and his music was no longer performed. Following a stroke he died a broken man in March 1934, two days before his 56th birthday. An entire generation of Jewish composers Among international leaders in contemporary fled Germany, Austria, Hungary, Czechoslovakia music of the time, both Stravinsky and Bartók A poster from the 1938 and other central and Eastern European were banned because of their innovative music. exhibition of ‘Degenerate Music’ in Düsseldorf. countries to re-settle in the USA, Britain Bartók, who detested the Nazis, was delighted and elsewhere. Many of them developed to find himself on the list. new careers in California as composers for Following the downfall of the Third Reich, Hollywood. Prominent among these were Erich the rehabilitation of many of the so-called Newstalk ZB Series Korngold (The Adventures of Robin Hood, degenerate composers was seen as a necessity The Private Lives of Elizabeth and Essex, The both artistically and politically. The music of DEGENERATE Sea Hawk) and Franz Waxman (Rebecca, Mendelssohn once more became a regular Sunset Boulevard, A Place in the Sun). Kurt feature of concerts throughout Germany 8pm, Thur 7 April Weill, already famous for The Threepenny and Austria. Mahler’s music took longer to Auckland Town Hall Opera and The Rise and Fall of the City of regain the following it had enjoyed in Vienna Conductor Mahagonny, settled in New York and became and Berlin prior to the Second World War, Johannes Fritzsch a highly successful composer of Broadway not least because a significant proportion of Violin Michael Barenboim musicals (Lady in the Dark, Street Scene, Lost Mahler’s audience had either been driven into in the Stars). exile or murdered. The resurgence of interest in Stravinsky Hindemith had no Jewish ancestry, but Mahler’s music didn’t really begin until the late Scherzo à la russe the irreverent and experimental approach 1950s and early ’60s, with the impassioned Schoenberg to Germanic tradition in his early works advocacy of conductors such as Rafael Kubelik Violin Concerto – particularly as expressed in his youthful in Germany, Jascha Horenstein and Georg Solti Mendelssohn Symphony operas – indelibly blotted his copybook with in Britain, and Leonard Bernstein in the USA. No.5, ‘Reformation’ the Nazis. Finally departing Germany for The music of Zemlinsky and Schreker suffered a BOOKINGS Switzerland in 1938, he settled in the United similar fate from the dispersion or obliteration of ticketmaster.co.nz States in 1940. Schoenberg was anathema to their former disciples, and it has taken longer for or 0800 111 999 the Nazis both as a Jew and as the originator their reputations to recover. of the twelve-note technique of composition. Despite such impediments, once the spectre His pupils Berg and Webern, neither of whom of racial hatred propagated by the Nazis had was Jewish, were nevertheless regarded as dissipated, much of the music by Jewish and degenerate because of the modernist style other composers that had been branded as of their music, despite the fact that Webern degenerate was swiftly re-established as an was actually sympathetic to the Nazi regime. integral part of the core repertoire.

apo.co.nz 15 Leave your mark in the music

You can help shape the future of the APO by leaving a gift in your will to the Auckland Philharmonia Foundation.

The Foundation has built an endowment fund to help secure the orchestra’s future and to support specific needs, such as scholarships for musicians. Leaving a gift in your will is one of the most potent and enduring ways you can help Auckland’s orchestra. Every gift, big or small, makes a difference. So once you have made provision for your loved ones, please consider leaving a gift and help the APO thrive in years to come.

Leili Muuga The Orchestra 1962 Leli Muuga/EAU, Tallinn, Licensed by Visopy 2014. Courtesy of Bridgeman Images

Charitable trust For more information visit the APO website No. CC23607 www.apo.co.nz/gifts-in-wills or call the APO Development team on 09 623 5628 Leave your mark in the music COMPOSER THE APO’S NEW You can help shape the future of the COMPOSER-IN- AT WORK APO by leaving a gift in your will to the RESIDENCE, KARLO Auckland Philharmonia Foundation. PN: We’re performing your first composition MARGETIĆ, IS A FAMILIAR as our Composer-in-Residence later this The Foundation has built an endowment FACE TO THE ORCHESTRA. year. Can you give us some insight into fund to help secure the orchestra’s future PHIL NEWS CHATTED TO what we can expect to hear, perhaps some themes or ideas you’re incorporating? and to support specific needs, such as THE YOUNG COMPOSER KM: I’ve been asked to write a short concert ABOUT HIS PLANS FOR opener. I wanted some sort of link to Nielsen’s scholarships for musicians. Second Symphony, which is featured in the THE COMING SEASON. second half of the concert, after Dvořák’s Cello Leaving a gift in your will is Concerto. There’s a very short, fascinating bridge passage in the first movement of the Nielsen, consisting of sudden, dissonant one of the most potent and Phil News: You have worked with the APO in swells that lead to the recapitulation. It appears the past, through its Connecting programme. suddenly and is gone in a flash, like a passing enduring ways you can help What are your memories of that time, and train. I intend to take this basic idea and use it Karlo Margetić how has it helped develop your career? as the starting point for my piece. How it will Auckland’s orchestra. Karlo Margetić: I participated in the Trusts’ unfold from there, I’m not sure yet. Young Composer Competition 2004 and 2005 Every gift, big or small, makes a and was then asked to be the Young Composer- PN: Aside from being our Composer-in- difference. So once you have made in-Residence (now called the Rising Star) for Residence, what other activities keep 2007 and 2008. I worked with the APO players you busy? provision for your loved ones, please and staff, and was able see how a large arts KM: I have a part-time administration job consider leaving a gift and help organisation works from the inside, which was a at SOUNZ Centre for New Zealand Music fantastic eye-opener for a young person at the in Wellington, cataloguing the scores and the APO thrive in years to come. beginning stages of a career. I was also one of resources. I’m also Co-Director of the SMP the presenters at the annual Discovery concerts, Ensemble and conduct and play the clarinet which was quite fun. One hilarious experience with them from time to time. was after one of these concerts: after Brent PN: You emigrated from Bosnia at a young Stewart played part of my Xylophone Concerto age – and you’ve given at least one piece with the APO, we were mobbed backstage by a a Bosnian name, Svitac – but does your horde of teenage autograph hunters. heritage influence your music at all? Can we PN: Thinking about our APO Connecting expect to hear Balkan instruments featured programmes like Our Voice and the in your works in the future? composer workshops, how do you think the KM: I guess it does, though often unconsciously. ability to workshop compositions with a full There are some things that just seem to be in symphony orchestra impacts the process of my blood, like asymmetrical rhythms and my composing? somewhat linear, cluster-based approach to KM: It’s an invaluable experience. Writing for harmony. Svitac (‘firefly’), a piece for clarinet an orchestra can be frustratingly complicated and upright piano, is an interesting case, for both students and professionals, especially because it was already finished when I decided if you’re trying out something new or unusual. on the title. The shimmering, luminescent texture Just think of Mahler constantly retouching his of the microtonal trills fits well with a memory I orchestration with each new performance. In a have of watching fireflies on a childhood holiday workshop situation, there is far less pressure in Croatia. Someone also said to me that parts to get it right the first time, and this can be of Svitac remind them of a kōauau [traditional very liberating; however, in order to take full Maori flute], and now I think about it, it’s actually advantage of the situation, you also need to quite true. I have no plans to use any traditional be flexible, and prepared to put the work in for Balkan instruments (this would probably be Leili Muuga The Orchestra 1962 revisions. You also get access to the collective quite impractical anyway), but I do have a Leli Muuga/EAU, Tallinn, Licensed by Visopy 2014. knowledge and experience of the musicians and weakness for the accordion, so it will wind up Courtesy of Bridgeman Images of your fellow composers. in a piece somewhere down the line!

Charitable trust For more information visit the APO website apo.co.nz 17 No. CC23607 www.apo.co.nz/gifts-in-wills or call the APO Development team on 09 623 5628 Image: Branco Gaica. Courtesy of Opera Australia.

All the world’s A STAGE

New Zealand tenor Simon O’Neill as Otello in a 2014 performance 400 YEARS ON, SHAKESPEARE for Opera Australia, pictured with soprano Lianna Haroutounian. REMAINS AS INFLUENTIAL AS EVER. HELEN SPOELSTRA LOOKS AT THE “If music be the food of love, play on, BARD’S STAMP ON APO’S 2016 Give me excess of it; that surfeiting, SEASON. The appetite may sicken, and so die.”

2016 marks 400 years since the death of the in 1603. The play’s themes of resentment, death Bayleys Great Classics world’s most beloved poet and playwright and sex meant it already had all the ingredients of William Shakespeare. Celebrations will be a great opera, it just needed someone to bring it taking place across the globe in his honour, and to life. In fact, Verdi’s operatic version of the play THE GREATEST Auckland won’t be missing out. The orchestra was not the first; Rossini had already penned will dedicate two programmes to the bard in and performed an Othello, although this version LOVE 2016; the second concert in this year’s Bayley’s is considered much less true to the original text. 7:30pm, Thur 26 May Great Classics series will feature excerpts from Verdi’s composition is considered to be Italian Auckland Town Hall both Prokofiev and Tchaikovsky’s adaptations of opera’s greatest tragedy. The tragedy would have Romeo and Juliet, and our offering of opera in been if the opera had not been written at all, Conductor Garry Walker concert this year; Verdi’s Otello. which was very nearly the case. Piano Alexander Gavrylyuk Most of Shakespeare's plays have been Verdi was very comfortably settled into Tchaikovsky Romeo and translated into orchestral music at least once, retirement when Milanese publisher Guilio Juliet Overture-Fantasy whether in the guise of an opera, ballet, Ricordi approached him to write another opera Chopin Piano Concerto symphonic overture or tone poem, and it’s not in 1871. Verdi was the most popular and No.2 hard to understand why. The universal themes wealthiest composer of the time and following Prokofiev Romeo and of his works transcend centuries, language and his Requiem and his triumphant opera Aida, he Juliet (selections) culture. His plays can be picked up and dropped had no intention of composing again, wishing to into any time, place or landscape – including simply relax and enjoy the spoils of his success. BOOKINGS a musical one – and the meaning remains the Ricordi felt that Verdi’s retirement had come ticketmaster.co.nz same. Not only that, but Shakespeare’s attitude too early and that he was wasting his talents. or 0800 111 999 toward his work was an inspiration to other He knew that in order to coax his friend from his artists, defying conventional tastes and following leisure he would need to come up with a special only the laws of his own genius. project, an idea for an opera so temping that Othello, Shakespeare’s intriguing tale of a great Verdi would not be able to resist, and with it he hero who can’t control his jealousy, was written would need an irresistible libretto.

18 apo.co.nz The Trusts Community Foundation Opera in Concert Ricordi was a great admirer of the librettist after Verdi’s favourite character in the play. Arrigo Boito and was pleased to get him The reasoning behind this was that it was OTELLO on board with the project, however the real considered bad form to give a new opera the issue was convincing Verdi, who was still not same name as another already in the repertoire. 7:30pm, Fri 29 July interested, stating that “composers for the Verdi was non-committal however, and long Auckland Town Hall periods went by where nothing was written at theatre will never be lacking”. It was only when Conductor all. Ricordi and Boito resorted to new tactics the idea of an operatic version of Othello was Giordano Bellincampi conceived that Verdi really took any interest. He to keep his interest up, which included sending was a huge admirer of Shakespeare, and when Verdi a Christmas cake every year with a figure Cast includes: his eyes lit up at the mention of this particular of Othello, in chocolate, on top. Otello Simon O’Neill play, Ricordi knew that there was some hope of This whole process took more than 10 years, Desdemona the project getting underway. but it was worth it. On November 1, 1886 Verdi Maria Luigia Borsi was able to proclaim “Dear Boito, It is finished! All Iago Scott Hendricks “The idea of a new opera arose honour to us!” The first performance at La Scala Cassio James Egglestone the following year received 20 curtain calls and Emilia Sarah Castle during a dinner among friends, when performances at opera houses across Europe Chorus New Zealand I turned the conversation, by chance, and North America were quickly scheduled. Opera Chorus on Shakespeare and on Boito. At the And so looking ahead to July when New Zealand’s beloved tenor Simon O’Neill will BOOKINGS mention of Othello I saw Verdi fix his take to the stage in the title role with a host of ticketmaster.co.nz eyes on me, with suspicion, but with wonderful local and international singers; will or 0800 111 999 the audience in Auckland give the work the interest. He had certainly understood; same rapturous reception that it received in he had certainly reacted. I believed Milan? It’s not beyond the realms of possibility. the time was ripe.” After all, with the combined forces of the APO, conductor Giordano Bellincampi, the music And so composition of the opera began of one of opera’s greatest composers and – reluctantly – but it began. The work was the imagination of the world’s greatest ever composed under the working title of ‘Iago’ storyteller, surely magical things will happen. A TALE OF TWO VIOLINISTS

SISTEMA AOTEAROA’S NEW MUSIC DIRECTOR JESS HINDIN AND RECENTLY APPOINTED DIRECTOR OF APO CONNECTING RACHAEL BRAND REGALE PHIL NEWS WITH THE HALCYON DAYS OF UNIVERSITY AND Rachael Brand, Director of APO Connecting. EVERYTHING THAT CAME AFTER.

“We’re testament to the fact that Auckland is was happening outside of our country. We have just a really small town,” Jess Hindin says, with this amazing arts and culture scene now, but a laugh. back then there was nothing like the Auckland Sistema Aotearoa’s new Music Director Arts Festival around, there was no arts scene at is explaining how she and Rachael Brand, all, all the big shows bypassed New Zealand,” new Director of APO Connecting, have come Jess says. decidedly “full circle” after studying violin Rachael agrees. “In Europe, being a musician together at the University of Auckland School of is a highly regarded vocation, and there are Music in the late ‘90s. And although their paths lots of opportunities. As soon as I finished my have converged once again at the APO, their degree, I couldn’t wait to travel.” Rachael’s travels respective journeys couldn’t be more different. through Europe eventually landed her in Norway “I have great memories of playing in Irish for several years, where music education “kind of pub bands and folk festivals during my time fell into my lap”, she explains. “I’ve always taught at Uni, I maybe wasn't as classically focussed music – I did a post-graduate degree in teaching as Rachael at that time,” Jess says. “And I was as well as performance, but I didn’t really make terrified of that kind of improvised ‘jamming’,” anything of it until I was living in Hammerfest Rachael counters. “I was classically trained, (Norway) and the director of the Cultural School more inclined to play at weddings and those said they were leaving and would like me to apply sorts of gigs. I remember playing at the Atrium for the job. Once I went down that track, I kind of on Elliott many years ago, for some reason they had to make a conscious decision that I was no would have a string quartet play every lunch time. longer going to focus on my playing, but on the It didn’t pay much money, but back then you’d education of our future generation instead.” take what you could get.” Though she isn’t Irish in descent, Jess was Jess, on the other hand says she earned drawn to the free-spirited style of Irish and some of the best money of her youth playing world music, and later auditioned for Canadian- at Irish pubs in the ‘90s. “Back then every Irish based violin ensemble Barrage, a touring pub in Auckland would have a live band playing group of musicians who blended high-energy three or four days a week,” she explains. world music with choreography. “A ‘round Both Jess and Rachael agree that travel was the world in eight minutes’ kind of vibe,” she always on the cards after University. “To me, explains. After almost six years of extensive New Zealand felt like this tiny little island in the touring, encompassing five continents and middle of nowhere and it felt like everything else multiple international television appearances,

20 apo.co.nz she returned home to continue a career as a freelance musician, and was recruited by Dr Joe Harrop, also an alumnus of Rachael and Jess’s year, to join Sistema Aotearoa as a tutor. “Being part of the core group of people to grow this programme is something really special,” Jess says. “Honestly, teaching never excited me like this before Sistema – but this is a really unique teaching environment,” she says. “Even though we’re teaching kids in big groups, they make great progess, and noticing the changes in them both as people and musicians Jess Hindin, Sistema Aotearoa’s new Music Director. is very rewarding. A child suddenly realising they’re able to tune their instrument or notice the sound they’re making, you can see they get a whole person that is going to be a valued a kick out of that. It’s these little realisations, member and contribute to society, Rachael adds. bringing them to the stage that they’re good “I love seeing the arts being used where enough to realise that they can be even better. we give kids a sense of purpose, to show them To me, that’s the reward, because Sistema they’re valued members of society. It’s not about Aotearoa is about them growing as people as us trying to push them all to be musicians, it’s much as them growing as musicians.” about giving them the tools they need to find And that’s a testament to all the research a platform for them to succeed. Giving them that has shown how arts education can create another string to their bow, excuse the pun!”

ONE ARTIST, THREE My Great PIECES OF MUSIC, Listen A LIFE CHANGED Malloch Adrian Image:

Australian conductor and music educator Richard Gill joins the APO once again to present its popular Unwrap the Music series.

GREGORIAN CHANT – MISSA DE ANGELIS The first piece of music I recall hearing, which made me wonder and actually made me listen was a piece of Gregorian Chant. I had no idea it was chant, or Gregorian or that it was, as I found out later, the Missa De Angelis. I can still hear the sound in my head and the echo of the music in the church. UNWRAP CHOPIN – WALTZ IN C SHARP MINOR THE MUSIC The second was a performance of the Waltz in C sharp minor by Chopin, by a senior girl in the school where Beethoven’s I was very much a junior. I had never heard a piano Fifth Symphony sound so magical and I was determined from that day I would learn that piece. I’m still practising it and it never 6:30pm, Wed 30 March sounds as good as the first time I heard it! Auckland Town Hall DAVE BRUBECK – ‘TAKE FIVE’ Conductor/Presenter The third great listen was coming to grips with Dave Richard Gill Brubeck’s ‘Take Five.’ The minute I heard it on the radio BOOKINGS I bought the sheet music and started immediately to ticketmaster.co.nz practise it. This led me into the world of jazz and it’s a or 0800 111 999 world I love. I have nothing but the highest admiration for musicians who improvise.

apo.co.nz 21 Make your event more accessible by streaming live.

We can help you: • Plan your story Develop a digital strategy with impact • Tell your story Use live streaming and online video to engage your audience • Share your story Have your audience coming back for more

From creation to delivery, you will never miss a beat.

TDC14 213 APO Ad A4.indd 1 18/11/14 3:30 PM All images: Adrian Malloch Adrian images: All THE APO LIVE IN YOUR LIVING ROOM – AND YOU DON’T EVEN HAVE TO DRESS FOR THE OCCASION. PHIL NEWS TALKS TO LISA CHUNG ABOUT PREPARING FOR LOUNGE LIVE STREAMS. MUSIC

The live streaming medium has exploded over the ahead to make sure past few years, and APO is ensuring it keeps up a camera is in place with the growth of this emerging technology. The for the next shot,” she orchestra can be beamed into living rooms around says. “I can’t always the world in high definition, making orchestral have the camera on the music more accessible than ever. In 2015, the first violins carrying the APO live-streamed four concerts for free, with melody – I’m looking plans to offer a similar number of concerts this for things that are fun season. “There’s nothing that compares to being to watch, interesting in the Town Hall and listening to the magic of elements that are the orchestra live, but it’s nice to be able to often happening in the reach fans from beyond Auckland with this percussion and brass technology,” says Lisa Chung, APO’s Deputy sections.” Keeping Librarian and score director for live streams. time with a massive There is a lot of preparation that goes into 50-minute score and a live stream, Lisa explains. First, she must looking ahead several print out all the scores and listen to a recording seconds to line up Make your event more accessible of the work many times, in order to become each camera shot is a familiar with the piece and the melody lines. strenuous task, and Lisa brought in an assistant by streaming live. “I pick out the melodies so that I have a sense to follow the score while she made camera calls. of where the cameras should be capturing the “It’s not fool proof,” she says. “There’s always the action,” she says. constant fear of losing my place, but often the APO’s live stream and video production best way to recover is to go back to the camera partner JX Live then meets with Lisa several focused on the conductor; he has the beat, and We can help you: times to plot out key action points in the score, I can pick up my place in the score.” and uses a mix of manned and fixed cameras to Afterwards, Lisa says her brain is “just • Plan your story film the orchestra from various vantage points. mush”. “It’s a very high pressure environment, Lisa is on hand to educate the camera operators but I really enjoy it and it’s so rewarding. It’s Develop a digital strategy with impact on some of the quirks of instrumentation. “At great to hear feedback from people who say first, I had to remember that not everyone can they really enjoyed watching our concert from • Tell your story recognise a cor anglais immediately, but now the somewhere overseas.” Use live streaming and online video camera operators are pretty good at knowing exactly where I want them to focus the camera,” to engage your audience she says. “Although sometimes things like a Lisa Chung works with Skot heckelphone or a thunder machine can trip them Barnett from JX • Share your story up; generally most live-streamed concerts will Live and assistant Have your audience coming back for more throw us one or two surprise instruments!” Eins Lee to line Lisa says one of the most challenging live up the shots. streams she has directed was the 2015 season finale, featuring Strauss’s An Alpine Symphony. “It was exhausting,” she admits. “I have to be From creation to delivery, incredibly focused the whole time, and thinking you will never miss a beat. apo.co.nz 23

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VM1512-1477_APO_news_A4.indd 6 13/01/16 4:25 PM APO PRINCIPAL TUBA TAK CHUN LAI TALKS TO PHIL NEWS ABOUT HIS INSTRUMENT. JUST DON’T ASK HIM TO PLAY RIDE OF THE VALKYRIES. Tuba How did you come to play the tuba? I didn’t start with the tuba. I started with a euphonium when I was 11 years old, and I played that for two years. Then when I got to high school I had the chance to audition for the school band. This school band had quite a big history, a really good reputation in Hong Kong. The teacher, who was a trumpet player himself, actually examined my mouth and said “I think you should play the tuba”. I suppose it’s because I have bigger lips than most Hong Kongese people. Even though I wanted to play the euphonium, the teacher said it was either the tuba or nothing; I think he needed someone to fill the position of tuba. Before the TAK euphonium and tuba I played recorder. You don’t resemble what many people would imagine as a typical tuba player. How do you keep physically fit for such a taxing instrument? CHUN When I first started playing the tuba I was short and fat! I used to run a lot and swim a lot, although not this year – I should really get back into it. I also played soccer together with my father growing up. LAI Tell us about your current tuba. Image: Adrian Malloch I have a few, but the one I play on with the APO most of the time is a C tuba, it produces a big deep sound so you can blend in with the double Do you often get asked to play Ride of bass. I think the type of tuba an orchestra the Valkyries? Bayleys Great Classics requires is a tradition thing, in England they All the time! I have a funny story about that used to only use an E flat tuba, and in Germany actually. I was studying music in Iceland, and they use a B flat tuba, in America and most of there was a contemporary art gallery opening A GRAND Asian countries they use the C tuba. I change next to our music school, it had been under tubas depending on the repertoire, for example construction for a while, and I used to practise TOUR for early Wagner or Berlioz I use an F tuba, to right next door. When the gallery opened they give a lighter sound. asked me if I wanted to come down and play at 7:30pm, Thur 28 April My F tuba is my favourite, because I can their opening. I asked them what they wanted me Auckland Town Hall change the sound quite a lot – I can produce an to play, they said “play the Ride of the Valkyries,” Conductor angry sound or sweet sounds. With the bigger so I played it. Then when I finished they asked me Giordano Bellincampi instruments like the C tuba there are some to play it again. And again. Violin Andrew Beer limitations to changing the sound. My C tuba I must have played Ride of the Valkyries at Respighi Fountains is a German brand, a Walter Nirschl, but it’s an least 20 times in 15 minutes, I remember I had of Rome American model; a York model which actually such a sore jaw. Afterwards I asked them why Lalo Symphonie originated in Chicago. they wanted me to play the Ride, and they said espagnole they had heard me and my friend practise it every What is your favourite piece of music Haydn day next door for a year, and they wanted to hear Symphony No.104, for tuba? it live, in the gallery to bring back the memories. ‘London’ For me it would be the Respighi’s Fountains of Rome – I used to hate it a lot, when I first Is a road cone a possible substitute for a Bookings started in music school I couldn’t play it, it was tuba mute? ticketmaster.co.nz just so demanding. But after many years of Even though they’re about the same size, I can’t or 0800 111 999 practice now it’s one of my favourite excerpts for use a traffic cone for a tuba mute – the opening orchestral tuba. [Ed note: Respighi’s Fountains is at the wrong end. I could probably modify one of Rome features in our Bayleys Great Classics though – the traffic cone looks more attractive concert ‘A Grand Tour’] than my current mute.

apo.co.nz 25 OFF STAGE MASTER CRAFTSMAN All images: Adrian Malloch Almost every professional orchestra has one – a musician who also knows their way around string instrument maintenance and repair. Tiana Lyes talks to bass player Evgeny Lanchtchikov about his craft.

In a small basement workshop, Evgeny to four months, Evgeny has more than enough Lanchtchikov shows me his latest purchase, work to keep him busy throughout the year. a shiny new router. The workshop is brimming Bow hair comes from Mongolian horses, with jig saws, skill saws, drills, lathes, and which Evgeny explains is the finest quality, then some more delicate instruments more due to the climate and even thickness in each commonly found in a jeweller’s workshop. strand. It usually takes him about an hour to Evgeny says he is always on the hunt for the rehair a bow if there is no other maintenance latest tool that might assist with his work in bow required, although he says cheap mass- rehairing, repair and customisation. “It’s quite a produced bows take considerably longer big investment, to set up a workshop like this,” “because the parts are just glued together. A he admits, estimating that he probably has in $15,000 bow is much easier to rehair because excess of $100,000 of tools, equipment and the bow has been constructed with care.” materials acquired over the 20 years he has He also makes frogs (the end piece of been practising the craft in New Zealand. the bow that encloses the hair-tightening Uzbekistan-born Evgeny learned the art of mechanism), tail pieces and wooden mutes bow rehairing from his brother Vladimir, a viola for string instruments, each piece customised player currently living in Germany, who in turn to the player’s preferences. They vary from the learned it from another musician. “It’s quite elaborate to the simple, and often tell a little secretive, this knowledge of bow rehairing; it is bit about the personality of the player. “I’ve passed down through friends, family. You can’t made mutes with spikes coming out of them, really just ask someone to teach you, they would wood inlays, and Gordon [Hill, APO Principal probably say no!” Bass and keen fisherman] has a trout carved Most of Evgeny’s work comes from within the in his mute,” Evgeny says. His own mute is APO, though he has received orders from as far “really simple,” decorated with 14 diamonds away as Europe and Mexico. “Most orchestras surrounding a large sapphire. usually have one player who can rehair and Evgeny taught himself the art of creating repair bows, and it’s often someone in the bass frogs and mutes, simply by pulling apart existing section,” he says. With professional string players pieces and analysing them. It’s a skill he’s spent typically requiring a bow rehaired every three many years perfecting, and his workshop is

26 apo.co.nz filled with every imaginable tool to create the embellishment on a mute, or a secret calling perfect angles and cuts required to ensure a card hidden away within a bow. “See that? replacement piece performs exactly like the That’s my knot,” he explains, showing the end of existing one. “It’s not just about the look of the the horse hair before tucking it into the bow tip. piece, I have to think about the weight and the “Every person who rehairs bows has their own requirements of that player.” knot. That’s my signature.” Materials Evgeny uses range from the Evgeny’s website is www.bowart.co.nz extravagant – turtle shell, gold, diamonds and ebony – to the standard, classic materials. Curiously, mammoth bone is a common and inexpensive material he often uses when repairing a bow tip – despite being more than 10,000 years old, mammoth bone is readily available, relatively inexpensive and, importantly, legal. Given its resemblance to elephant ivory, he usually avoids using mammoth bone on international orders as complicated customs paperwork may result in a bow being seized at the border if each detail is not correctly documented. Most musicians opt for classic white hair for their bows, but Evgeny has also rehaired bows in every colour of the rainbow. “Coloured bow hair makes no difference to the quality, I guess it depends on the image the musician wants to present of themselves,” he says. Evgeny leaves a little trademark in each piece he crafts – whether it’s his golden logo At Ogilvy & Mather, we focus on creating harmonious connections between people, products and brands across a world-class ensemble of communications practices and practitioners. To understand the difference we could make to your business or cause, email greg.partington ogilvy.co.nz

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Witnessing the into the inner workings of their section, developing connection Doug Cross, Mark Close and Timothy between Maestro Sutton perform some of their favourite Giordano Bellincampi pieces and demonstrate the sound of and APO musicians their fabulous Kromat Trombones (see is just one of many page 5 for the full story behind these exciting opportunities new instruments). Crescendo members Crescendo’s exciting and exclusive can look forward to in 2016. Members opportunities continue to enhance are invited to experience Bellincampi members’ concert-going experience and the APO exploring music from and attract new members. The throughout the entire musical spectrum 170 people who have now joined in rehearsals for Welcome Maestro, Crescendo enjoy the chance to engage Verdi’s Otello and Outraged. with the orchestra on a deeper level Another highlight sees the APO while playing a vital role in sustaining Trombone section take centre stage the APO. For more information or to at the popular Behind the Scenes purchase a membership, phone evening in July. As well as sharing 09 638 6266 ext 234 or visit entertaining anecdotes and insights apo.co.nz/crescendo. KARMA COLA The award-winning packaging design now available world-wide.

A little while ago, Special Group designed the distinctive Karma Cola packaging. Today it’s sold all over the world and bottled in the UK to keep up with European demand. Is that great success all down to the branding? Nope. Did it make a difference? Just ask All Good. Simon Coley, Founder [email protected]

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One of the themselves to be there to see and internationally hear Eckehard in frank conversation, famous things the then joining a trio of Auckland Friends of the APO University Jazz performance students do is to provide for some wonderfully spontaneous supper trays for music. Those attending our October the conductor and MTA had the joy of being personally soloists at APO serenaded by Henning Kraggerud concerts. All the volunteers can feel an as he walked through the audience Conductor Guy Noble’s thank you note inner glow when this care is recognised improvising on his 1744 Guarneri del and valued as shown by the note left Gesù; an amazing experience for all. Bartley, President (09 580 1967) or on his tray by Guy Noble, (see picture). The 2016 MTA programme promises Anne Stewart, Membership Secretary Guy conducted the APO for Settling to be just as exciting. the Score this year. Many visiting artists Buses to concerts continue to be (09 476 1353). who have graced our Friday morning popular and given the difficulties and MEET THE ARTIST DATES Meet The Artist events have expressed cost of parking we expect more people their appreciation of this service and to use this service. We are hoping that 26 February 2016, Dejan Lazić, Eckehard too included his thanks in his there will be enough support to run a piano soloist farewell meeting with the Friends on bus from Orewa and anyone interested 1 April 2016 Richard Gill, Australia’s 6 November. The APO musicians too should contact us or convener Audrey greatest music educator for whom we Friends provide a supper Hay directly. (see APO News page 5) table are fulsome in their thanks. There are so many practical ways 29 April 2016 Andrew Beer, APO Our Meet The Artist events that Friends support the APO family concertmaster (tbc) continue to be great value and and we hope that you will see joining 27 May 2016 Alexander Gavrylyuk, hugely exciting. Eckehard’s last visit the Friends in 2016 as a way that you set an attendance record and many can support the APO to be even better. Piano soloist (tbc) will regret that they didn’t organise For further information contact Bryce 24 June 2016 Opera star (tbc)

FOUNDATION NEWS

What better way Circle, continues to grow. This is a scheduled. The Foundation is pleased to start 2016 than special group of supporters who have to play a role in supporting each of to celebrate the indicated they intend to leave a gift to these elements together with the success of the two the Foundation in their will. Such gifts, Annual Player Scholarships. One of players recently no matter what their size, help to grow the Foundation’s goals for 2016 is to awarded the 2015 the endowment fund managed by the increase awareness of the importance Foundation Player Foundation for the benefit of the APO. of the endowment fund and the Scholarships for Each year the Foundation makes study in 2016. This year Tim Sutton grants to the orchestra from the opportunity to be part of the orchestra’s A little while ago, Special Group designed the future, through gifts in wills. If you want distinctive Karma Cola packaging. Today it’s sold and Mark Bennett will hone their Fund’s income. The capital of the Fund respective trombone and violin skills (including all donations and legacies) to know more about the Foundation all over the world and bottled in the UK to keep up through lessons with masters in the remains intact so that it can continue please contact me, and if you would with European demand. US and Europe. They will also sit in to generate the funding for grants to like information on how to make a gift Is that great success all down to the branding? on or attend concerts and master the orchestra. Donors can therefore in your will please contact Christopher Nope. Did it make a difference? Just ask All Good. classes. The goal of each player is to be confident that their gift is indeed Johnstone [email protected] or develop their own technical skills as enduring and available to support the 09 638 6266 ext 227. Simon Coley, Founder well as enhancing their contribution as orchestra in perpetuity. [email protected] part of an orchestra. 2016 is an exciting year for the Belinda Vernon, Chair Membership of the Foundation’s APO, with a new Music Director, a new Mobile: 027 5570 845 legacy group, the 21st Century home and an ambitious programme Email: [email protected] specialgroup.com apo.co.nz 31

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Auckland Philharmonia Orchestra gratefully acknowledges the contributions made by the following companies, trusts and organisations. These funds support the orchestra’s current operations and education programme.

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32 apo.co.nz January–July 2016 CONCERTS

DATE CONCERT/ACTIVITY TIME LOCATION

Thu 18 Feb The New Zealand Herald Premier Series: A Grand Opening 8pm Auckland Town Hall

Thu 25 Feb The New Zealand Herald Premier Series: Poetry and Power 8pm Auckland Town Hall

Tue 8 Mar Deloitte Summer Salon: Puttin' on the Ritz 6.30pm Shed 10, Queens Wharf

Sat 12 Mar Auckland Dance Project: Ruaumoko 5pm The Civic

Thu 17 Mar Auckland Arts Festival: Nixon in China 7.30pm Auckland Town Hall

Sat 19 Mar Auckland Arts Festival: Nixon in China 7.30pm Auckland Town Hall

Wed 30 Mar Unwrap the Music: Beethoven's Fifth Symphony 6.30pm Auckland Town Hall

10am & Sat 2 Apr APO Connecting: APO 4 Kids Auckland Town Hall 11.30am

10am & Sun 3 Apr APO Connecting: APO 4 Kids Bruce Mason Centre, Takapuna 11.30am

Thu 7 Apr Newstalk ZB Series: Degenerate 8pm Auckland Town Hall

Thu 21 Apr The New Zealand Herald Premier Series: Welcome, Maestro! 8pm Auckland Town Hall

Thu 28 Apr Bayleys Great Classics: A Grand Tour 7.30pm Auckland Town Hall

Thu 5 May The New Zealand Herald Premier Series: Beethoven's Triumph 8pm Auckland Town Hall

Mon 9 May In Your Neighbourhood: Beethoven's Septet 6.30pm St George's Church, Takapuna

St Kentigern College Chapel, Tue 10 May In Your Neighbourhood: Beethoven's Septet 6.30pm Pakuranga

Sat 14 May The Topp Twins and the APO: Untouchable 8pm Auckland Town Hall

Thu 26 May Bayleys Great Classics: The Greatest Love 7.30pm Auckland Town Hall

Sat 28 May APO Connecting: Open Orchestra Central 2-4pm Auckland Town Hall

Thu 2 Jun The New Zealand Herald Premier Series: Latin Rhythms 8pm Auckland Town Hall

Sat 11 Jun APO Connecting: Open Orchestra South 2-4pm Vodafone Events Centre, Manukau

Tue 21 Jun Unwrap the Music: Romeo and Juliet Suites 6.30pm Auckland Town Hall

Mon 27 Jun In Your Neighbourhood: Italian Baroque 6.30pm All Saints Church, Howick

Tue 28 Jun In Your Neighbourhood: Italian Baroque 6.30pm St Luke's Church, Remuera

Wed 13 Jul Bayleys Great Classics: Beethoven & Brahms 7.30pm Bruce Mason Centre, Takapuna

Thu 14 Jul Bayleys Great Classics: Beethoven & Brahms 7.30pm Auckland Town Hall

Thu 21 Jul The New Zealand Herald Premier Series: Love and Loss 8pm Auckland Town Hall

Fri 29 Jul The Trusts Community Foundation Opera in Concert: Otello 7.30pm Auckland Town Hall

apo.co.nz 33 AUCKLAND PHILHARMONIA ORCHESTRA

PO Box 56024 Dominion Road Auckland 1446

Phone (09) 638 6266 Fax (09) 623 5629 Ticket Office (09) 623 1052

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